Using the Mixing and Editing Tools in Cubase | Will Edwards | Skillshare

Using the Mixing and Editing Tools in Cubase

Will Edwards, Artist. Creative Problem Solver. Musician

Using the Mixing and Editing Tools in Cubase

Will Edwards, Artist. Creative Problem Solver. Musician

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19 Lessons (43m)
    • 1. Introduction

      1:02
    • 2. Installation and Licensing Basics

      1:34
    • 3. Creating Your First Project

      0:57
    • 4. 64 Bit Hosts and Plugins

      3:09
    • 5. Plugins Overview

      0:52
    • 6. Organizing Tracks Better

      2:53
    • 7. Introducing Frequency Spectrum Monitoring

      4:42
    • 8. Building Reusable FX Chains

      2:21
    • 9. Optimizing Latency for Mixing

      2:41
    • 10. Cubase's Instrument Channel

      3:18
    • 11. Setting Up an Audio Interface

      1:39
    • 12. Basic Tempo-Matching Example

      2:18
    • 13. Basic Timing Correction Edits

      2:38
    • 14. Basic Pitch-Correction with VariAudio

      2:06
    • 15. Automation: Recording Manual Tweaks

      1:34
    • 16. Automation: Drawing in Lanes

      2:06
    • 17. Automation: Automating Plugins

      2:23
    • 18. Editting Using Custom Hotkeys

      1:59
    • 19. CPU Optimization

      2:56
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About This Class

If you are just getting started with Cubase this course is a great companion to getting your software setup and ready to use.  We'll also cover some very useful workflow concepts like reusable presets, hot keys and automation techniques.  This course's project is a great way to make sure your software is setup correctly.

This is part of a series of courses aimed at teaching important lessons to anyone who is new to Cubase.  Cubase is a powerful audio editing, recording and mixing software package.  This course is focused on tools and features including:

  • CPU Optimization
  • Audio Interfaces
  • Reusable FX Chains
  • Workflow Recommendations

If you already have Cubase setup on your computer, this course will still offer you valuable guidance with Automation, troubleshooting and optimization capabilities under the hood.  Please feel free to get in touch with questions.  Happy learning!

Meet Your Teacher

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Will Edwards

Artist. Creative Problem Solver. Musician

Teacher

I am a full-time professional musician who has broad teaching experience with guitar & bass students in rock, blues, jazz and many other genres. I perform live on bass, guitar and keyboards.  In addition, I perform live electronic music improvisation.  I've devoted over 26 years to my own well-rounded musical education, focusing on a mastery of all aspects of modern music - from music theory to ear training; from live performance to composition and practice routines.

I specialize in bridging the gap between music and technology, focusing on using modern tools to demonstrate all aspects of music.  I compose and perform with Ableton and Push 2 and I have experience with Cubase, ProTools and Logic.  I'm extremely comfortable using web-based to... See full profile

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Transcripts

1. Introduction: Hi, My name is Will Edwards, and this is part of a series of Q base essentials courses that I prepared that are gonna teach you about mixing elements and other features of the software package. And this course is really focused on features and tools within Q base. So we're gonna look at CPU optimization. Layton see optimization, how to set up an audio interface, that sort of thing. But we're also going to look at things like building reusable effects, chains and automation. The main value of taking this course is so that you can understand how to optimize the software, but also how to optimize your workflow by using the most valuable features that may be the most common features and be able to cherry pick the features that are going to serve you the best in your projects. I've also outlined a project that goes along with this course, and if you fulfill the project, feel free to ask questions and post questions as well as post the final product of your project. The project is designed to help you develop fluency with the skills in this course, so let's get started 2. Installation and Licensing Basics: que basic uses dongle, a USB dongle that has an E licensure installed on it, and especially for the pro version, this is kind of non negotiable. You have to have these dog ALS. Usually one will come with you or purchase of Q base. Or you can buy one on Q base, Steinberg's website. The dongle is a little blue key that you plug into your USB and you actually install your license on that device. And then you have to have that USB dongle with you any time you want to use Cuba's. The nice thing about it is that you can have Q base installed on many different computers and just choose which one do you plug the dongle into right so you could use it on a desktop and a laptop. The downside is, of course, that you cannot use it on both devices at the same time, because you need to have the dongle installed right. So it's important that you set up your workflow so that you understand the limitations and constraints of using the USB. He licensure A couple of words on installation. Generally, Q Base installs are quite large. You should be able to keep elements like your plug ins and sound libraries on an external drive if you like. But you do have to run the Q base program on your hard drive. In this introduction section, we're gonna continue talking about a few more topics like the value of 64 bid a little bit of an overview on plug ins, and we're gonna talk about the core effects E que and compression as well as channel and master effects, organizing track structure, frequency, spectrum monitoring, gay and staging. And then finally, we're gonna get started in this section by importing audio admitted into Q base, and I'll show you how that's done towards the end of this section. 3. Creating Your First Project: When you first open up Q base, you'll probably see this kind of a window. The Steinberg Hope and I usually kind of click right past this. But basically, this is kind of a Steinberg's idea of useful information that you might want it to be getting your project. Generally, this is not essential to the use of Q base. It's just kind of a space that you can customize and use to either keep on top of updates or maybe new features, as well as maybe create templates for projects moving forward in your own kind of model of your own workflow. I'm gonna go ahead, and I'm just going to create an empty project. I am going to leave the default location as is, and then I'm gonna create my project here, and I'm just gonna call it Q base. Now I'm gonna click, create empty. Now I'm seeing the basic Q base window. We're all set to start with our project, but I just want to cover some basics about installation and licensing 4. 64 Bit Hosts and Plugins: For many years now, Q base has been a 64 bit editing platform, and I want to talk a little bit about what that really means. So in the old school 32 bit Q base, the only limitation there was that you could address less ram, and you could use less ram when you were working with plug ins or effects or sound libraries. And obviously, the more ram that you use, the more powerful your D aaw can be. And the more tools you can work with simultaneously, so you ultimately want to use as much rams you can. And the development of 64 bit technology allows software to use more RAM and thereby allow you as the engineer to start using more plug ins. More effects, more powerful effects all simultaneously. Essentially, the technological side of this is that 64 bits is a larger chunk of data, and if you can imagine your computer sort of consuming and thinking about individual ideas or individual concepts one at a time, if each idea that the computer has to ponder and come to a conclusion about contains more information, I eat contains 64 bits rather than 32 bits. Then, as long as it can do those calculations quickly, your computer's effectively going to make more informed decisions more quickly with less time. And ultimately that makes you as the engineer. Ah, a little uncomfortable because you're not having to think so much about how to lay things out over time. How to take it easy on your computer. Make sure your CPU isn't overloading and so on. You kind of just throw more at it and it just works. And you can stay in your creative head, even though you're asking your computer to do wild and crazy tricks as faras re verbs and vote coders and running synthesizers in real time. In short, you want to run 64 bit platforms like you base as often as you can. I will give you more professional results, affect the quality of the sound, And in order to do that, you need to make sure that you're also using 64 bit plug ins. So typically, if you're using a 32 bit plug in, you might have a problem using it inside a 64 bit host. And this is true of Q base But it's also true of all platforms, logic or pro tools. Mableton. The problem with trying to get 32 bits and 64 bit platforms to work together really hasn't been resolved gracefully. There are a few plug in rappers out there that kind of make it work if you really have to. And I suppose if there was a plug in that you really needed to use. You know, maybe you were trying to recreate some sound from an older mix, or there's a preset you've just gotta have or in effect, that no other manufacturer makes. Then you may have to use a 32 bit rapper something like that, and you can actually buy software that's called a 32 bit rapper, one of the products back in the day that I used to use what's called J Bridge, so that might give you a head start. But the long and short of it is you want to work in a 64 bit environment. Now we're well into the phase where 64 bit is the norm, and you want to make sure that the plug ins you're using are also 64 bit of course, if you're using the built in plug ins in Q base or in any platform for that matter, chances are very high that they'll already be compatible with your host at 64 bit plug ins . With that said, let's take a look at some plug ins in the next lesson. 5. Plugins Overview: base comes with a whole huge collection of plug ins. And, of course, then there's gazillions more out there on the Internet, either for free or you have to buy a plug. Ins is an endless world, so you can get into it as deep as you want in this course. Part of what I'm trying to teach you is that e que and compression can do 99% of the work you really need. Those are the main plug ins that you want to get familiar with. They're the most common used in every live sound situation in every sound engineer studio situation there used when people track their used on the radio E que and compression are absolutely key. You really cannot make a good mix without them, and surprisingly, you can do almost everything with just those plug ins. So I want to talk a little bit about those plug ins and then also talk about some of the plug ins that are built into Cube A so that you have an idea of what pool of resource is. You have 6. Organizing Tracks Better: So now we want to talk a little bit about organizing track structure. So I'm gonna go back. I'm gonna hit F three just going to take me away from the mixer console, and it's going to take me back to the sort of more typical horizontal strips. Now, when I select a track, it highlights like so I can meet the track. I can solar the track, but I can also abstracts two folders, and I'm going to go ahead and add an instrument track. I could go ahead and just had really any instrument. It's not important. I just want to add multiple tracks. There's an instrument track, which we'll talk about later. On the course, you can create something called a folder track, and then you can actually put these tracks inside there. So I could actually just fold that up, and I could call this Let's say band, and then I could have another folder track, which was called vocals. Then I could have another folder track than I call sound effects, right? So in this scenario here, I could have a nice, tightly viewable collection of tracks using folder tracks. But inside each one, I would be able to fully edit whatever's happening on these tracks, and we're going to use some of these principles as we move through the course so you'll see them in use. There are a variety of other types of tracks here. You got the arranger track, which is helpful if you want to say Create a song section structure like intra verse chorus and you want to reuse elements from currently recorded material that say You just want to have one course that you edit and you make perfect And then you can set up an arrangement where maybe the chorus gets played three times. But in the editing environment, a Q base. You only have one little section Gold course. It's kind of handy, but not absolutely crucial for surviving in the world. QB's the folder track we've talked about. Market tracks can be helpful just for keeping track of specific points in the project that you want to return to. Rule attracts signature tracks, court tracks, thes air, not necessarily something that you need to get into the beginning. The tempo track. It allows you to change the tempo, have specific points in the song so that things like committee or any warped audio will match a tempo. And then, of course, you can also do some lightweight video editing inside. Q Base Q Base has another product called New End up, and that is really an industry standard video audio matching software. So there are some really robust capabilities in here for using it with video, but we're not going to really talk about that at all in this course. That's it for organizing track structure. Basically, you want to make sure that things are visually easy. Pretty use, And using the folder track is a great way to kind of keep a lots and lots of tracks organized, uneasily, visual, let's before and look a frequency spectrum monitoring. 7. Introducing Frequency Spectrum Monitoring: Oh, all right, so in this lesson, we're gonna talk about frequency spectrum monitoring. What this really has to do with is being able to see visually how our base and mid range and trouble is actually working in our track. Right? So the reason that I like to use frequency spectrum monitoring is because it gives me just visual feedback on what I'm hearing are my base is low enough. Sometimes I'll be mixing in headphones or on a sound system. It's unfamiliar to me, and I can't really tell if the base is there or not. But I can see it if I'm doing frequency, spectrum monitor or likewise, if there is just too much trouble or there's too much mid range, get kind of used to how a good mix should look in frequency spectrum monitor. So a frequency spectrum refers to every frequency that a human being can hear generally from 20 hertz all the way up to 20,000 hertz or 20 kilohertz. So show up what frequency spectrum monitoring does. We needed something producing that frequency spectrum, which is basically some audio now, all of the stems that you can download along with this course that I prepare for you their wave files. And then there are also many files. You'll notice that all the way files are set up his 24 bit and 96 kilohertz in terms of their sampling rates, we want to make sure our project is set to that as well. So I'm gonna go ahead and I'm going to go up to the project menu, Gonna go to project set up. And from here, you want to make sure you're sampling rate is set to 96 kilohertz and then bit resolution set to 24. Now, if you've got maybe a smaller laptop on older computer or something that will have a hard time jumping through 96 kilohertz sampling rate, then you feel free to set that to 44 1 When you import audio into Cuba's, it'll ask you if you want to basically converted to that lower sampling rate. I think using 96 kilohertz for mixing and certainly using 24 bit. You do not want to start with 16 bit file generally, unless you absolutely have to, because your computer constraints are very severe. But generally using 96 K and 24 bit is a really nice middle ground where you're getting the maximum modern technology can offer in terms of sound quality. But you're also being reasonable. You don't need to use 32 bit and you don't need to use, you know, 192 kilohertz all the time. So I'm gonna go ahead and save these settings, and then I'm gonna go up into my file menu and I'm gonna import quality of file so you can choose any one of the audio files from the stems that I made available. You'll see here that you can convert the files if he, for example, you wanted to use a different bit rate or sample rate. But I am providing you files with 96 K 24 bid resolution. I want to go ahead and copy them to the directory, because that will kind of keep all your files organized in one central place. Go ahead and click. OK, it imports are file here, and we can actually see the way for I'm just zooming in and out using the G and H keys. Now let's play back and listen. Now the next thing we want to do is go ahead and set up our e Cute. Now I want to use the frequency e que, which is a slightly different plug in from the one we talked about the acu section, Studio Cube frequency EQ. You gives you a few more bands to work with. But it also has this nice display where it shows you the frequency in the background. So studio e que does This is well but frequency EQ you like? I kind of prefer the environment just for looking at the spectrum specifically. So we'll notice when we play this high hat that we're getting a lot of frequency response in the upper range between about three K and 20 k So we're seeing a lot of frequency in this rage. And this is really what frequency spectrum monitoring is all about being able to see visually what frequencies were hearing because it's quite challenging to understand frequencies by year only you can certainly get a sense for them, and you can start to work intuitively with your audio projects. But it's very helpful in the beginning to learn to see them, to learn to think about, um on this frequency spectrum. This frequency spectrum monitoring is something that's really only been available to us since the advent of real time audio processors like frequency eq you. So that's a quick rundown of how frequency spectrum monitoring is gonna work in Q base and how I like to work with it using frequency e que In the next lesson, we're gonna import all our projects so that in the next section will be able to actually dive into our mix. 8. Building Reusable FX Chains: que base has a really cool feature where you could create a set of plug ins like a channel strip. And then you can say that as a precept and you can load it on the other channel. So it kind of streamlines its process of wanting to find the right plug in combinations for all of your drums. When you have these different channels high hat clothes and I have opened, kick and then snare, we're pretty much going to be using the same plug ins we're gonna be using a gate compression and cute, and we want to just try and load that in on one channel and then duplicate the out so I'll show you how to do that. So let's go to our first Channel high, have closed and we're gonna add a gate gave out his under dynamics. Basically, what it does is if there's not allowed enough signal than it essentially is muted. And this keeps what's called Bleed on traditional drum tracks where, like the snare mic might be picking up some kids from the kick or I have it actually cuts that out after the gate. We're gonna want tohave e que So I'm gonna go ahead and I'm gonna actually use the frequency eq you because it's got a lot of the features of our studio e que But it also gives us the frequency spectrum monitoring that we discussed in the introduction section after that e que. We're gonna want to put on a compressor. So we're gonna go back to dynamics and we're gonna choose compressor. At this point, we want to take this trip and we're going to create a precept. Could save effects Jane as a preset. And I'm just gonna call this demo. You're on now. I can go to my open high hat channel, and I can load a preset. I might have to search for it. Here we go. Now that's loaded in there. I'm gonna go to my kick channel to do the same thing. Load effects chain preset in the drug snare. This way, it saves me a lot of time because I don't actually have to load in the individual plug ins . We clear these out, just weaken. See what's going on. This channel here is basically all of the 808 kit parts. The snare kick open and closed hat in one. I gave that to you so that you'd have it if you want to do remixes down the road. But I'm actually gonna just delete this channel. I don't really want to have it. So now I've got my plug ins and sold as inserts on each of these channels. They all have the same value current. In the next lesson, we're gonna actually set up the gate CQ and compressor, and we'll have a lesson for each one of those because they're really different considerations. Then we're going to start kind of looking at how to mix the drums. 9. Optimizing Latency for Mixing: So before we get mixing, I just want to point out something about Layton. See and audio dropouts. When you go in Q base to the studio menu and you're a studio set up in the built in audio selection here, there's a control panel. This buffer size number is highly, highly relevant. Depends on overall how powerful your computer is, and I have mine set to 10 24 now. What that means is that the computer is going to bundle 1024 samples together before it sends it off to be processed by the CPU. Essentially, this makes support Layton see, because it takes a little while for the computer to collect up that amount of information. The upside of it is that it's actually less work for the CPU. So, in other words, higher this number, the less work your CPU says to do. So 1 92 or 32 is really pretty heavy duty work for your computer. So let's say I go ahead and I select 32. You'll see that suddenly my Layton see here is extremely low. It's saying that I am only getting to milliseconds to thousands of a second is the difference between when the audio is processed in when it's heard. So let's listen to that. Now. You can hear that my computer is having a hard time keeping up with that. So that's called audio dropouts. And that's essentially the sound of my computer choking on that enormous task of trying to run audio through all these plug ins and everything. Do that all that stuff so instantly that I only have to suffer to thousands of a second of a delay. So if you have a very, very, very powerful computer than that's fine now, when you're recording, it's really nice to have as little agency is possible. Certainly, under 10 milliseconds is necessary so that when you're playing an instrument, it doesn't sound shopping. If I back this off to 10 24 that's a now you'll notice that my ladies he has gone up to output. Lady C is almost 23 milliseconds. Okay, so that's still 23 thousands of a second. It's not a lot, but it's enough to to sense if you were, for example, monitoring your own performance but for mixing, it's totally fine now. Now my computer is able to play that fine. So if you have audio dropouts, you have any problems like that. Go to the studio menu. Go to studio, set up select built in audio underneath BST audio system. Click the control panel button and give yourself the largest buffer that is necessary now. J. Basically, you want to try to choose which one of these numbers allows smooth playback but is the lowest number possible. 10. Cubase's Instrument Channel: I'm going to take a small data were here and talk about using a really cool feature of Q base, which is an instrument channel in older, much older versions of Q base. You actually had to create a MIDI channel and then that many channel had to go into a VSD instrument a few versions ago, they implemented this great idea called an instrument challenge just kind of wraps it all up in the one. Generally, a mixing course doesn't need to involve compositional elements, like adding instruments. But I want to do it here just to demonstrate using an instrument channel. Because really, this course is also about Q base, and this is a feature that's unique. Cuba. So what I'm gonna do is I'm gonna go ahead and I'm gonna create a new instrument channel within my Army Boulder track, and I'm going to select a VSD instrument here. I'm just gonna go with a really basic one Hallion sonic, and I'm going to add dreck. It's actually gonna load up this instrument and create its own channel. Can you? So what I've got here, I'm just gonna go ahead and drop that into my harmony group check and let's meet everything except this one channel. Of course, if I play this back although an instrument is set up on this channel, there's no may be driving the instruments I've got import some. That's where the MIDI files that were part of the stems download at the beginning of this project will really come in handy. So let's go to import, and I'm gonna go down to media file. And no, I do not want to create a new project. I just want to locate my stems and I'm gonna go ahead and I'm going to load in my FM synth pad. Many Okay, I'm gonna bring this up here. So now I've got this midi loaded in. What I want to do is make sure that there's an instrument receiving this money. So when you selected the instrument channel, it brings up some different options in our inspector, one of which is this edit instrument button right here. I'm gonna go ahead and I'm gonna open that up. And I used to drop down in my first instrument program to select a keyboard. I want to look for kind of a piano sound. Right, So this is what I'm gonna do when you go ahead and let's go. Dino e p a was saying we want that now when I play this midi getting that. So I'm basically wrapping up an instrument and midi in the one channel using the Q base instrument channel. So now I'm gonna close this up to use the G and H keys to zoom in. Zoom out. There were some my favorite hot keys and I'm gonna go ahead and I'm gonna actually line all of this up. But the problem is that as I drag it, it keeps kind of snapping to the wrong place. The thing I want to do here and this is a que based feature is up in the menu here where I have snapping on and off and leave snapping on. But I want to change the snap type and I want to change it to events. Now. When I drag it, I can snap it right to that first event. That's what I want. Let's see how it sounds with my lead, for example, it okay, so we still got room to work on our lead patch, But the timing seems to be right now, we're gonna move forward. And in the next couple of lessons, we're gonna talk about how to record a microphone using a USB interface, how to settle that up in Q base. But we're also going to talk about tuning a basic vocal track, and then we're gonna create some artificial vocal harmonies using a combination of tuning and duplicating events that's coming up. Then that'll concluded our section on harmony mixing it would be actually working on the mix down a little later in the course. 11. Setting Up an Audio Interface: Now I'm going to demonstrate for you how you can set up a USB audio interface with Q base so that you can record something off of a microphone. So first we need to go into our settings, the external quality of interface. Now I'm using an I connect audio two plus year. So I'm gonna go to studio and a minister, go to studio, set up in here. I'm going to choose my VSD audio system and Medical Select. I connect Audio two plus. Now, under this drop down, you should see whatever interface you're using. It could be a FireWire interface USB. That's not too important, but the fact that it's connected your computer if you don't see it here, generally it means that you don't have the driver installed correctly. If you're on Windows, that's a more common problem. But generally, if you went through the installation process correctly and you've used your interface before, then you should see it in this drop down box under studio set up. So I'm gonna go ahead and select that, and it's gonna ask me if I want to switch the issue of driver. I'll go ahead with that now There's one more thing I need to do, and that's make sure that my inputs are actually set up correctly. So again, I'm gonna go to studio this time to audio connections, and you can actually get there using the F four button on your keyboard. Now I want to come here and make sure that my stereo input is using the correct device. I'm noticed that these are set up as some generic names, but that will be fine for now. That's probably going to just be inherited from your audio interfaces, General set up. You know, that's probably set up by the manufacturer. Anyway, this is where you could actually set up different inputs and different outputs. So I've actually set up my output as well to my device so that I can use the headphone jack on my device or the output jacks to have the sound come out to studio monitor. That's great. So now I've got my audio interface set up. I hope that you've got the same thing, and now we're going to do a little bit of recording 12. Basic Tempo-Matching Example: Now we want to focus on doing some pitch correction and timing correction on this loop. Before we can do that, we want to make sure everything in our track is mapped to a grid or tempo. We're going to check out Tampa by opening the track window. I'm gonna do that using commands, tea on an apple or it could be controlled. Teoh on PC. I can see up in the center here that our current tempo is set toe 1 20 Before I do any editing, I like to make sure everything's on a grid. So I'm gonna select all of my events. I'm gonna drag them to the first down, be my entire project. The next thing I want to do is listen to the music within a matter of him will enable the measure them down here. And I want to make sure that basically my mention of matches and music that way I didn't know that the grid holds that matches of these Theo pretty good. And I happen to know that I recorded this music originally at 1 20 Yet for some reason you go through this process and you're working with what you don't know what the original 10 but less, but you want to map it to a grid. You can select individual events. You could go to the project menu and in tempo detection you're gonna hit, analyze in the upper left hand corner. And that will essentially set a bunch of tempo wort markers that will allow this music here , the cliff that I have selected to the match or whatever. 10. But I'm working in. However, that's not necessary with this particular project. What we want to do now is look at this vocal part and we want to make sure that it's pitch and its timing or correct. I want out of this clips length. So that is exactly the eight bars to match my breakdown when I try to grab a sample of moving, it doesn't really snap currently to grit. The reason for that is that I have snapped type set to events. I want to change snap type to grid and then I also wanna set this grid value to use quantifies, which is going to use whatever value I have selected here currently, 16 now I can zoom in and I can actually drag and it'll snap. I think so. We'll see him out, Jim, Back in over here at the end of my breakdown. Yeah, I can see. Now I can see that this loop is has exactly eight bars. And I can see that up here in my clip specifications. Eight bars in length. 13. Basic Timing Correction Edits: next step is to make sure of the timing and the pitch are correct. Let's check the timing first, many use option P to the do this, get assuring off monitoring, and I'm gonna listen to the loop the pitches off. We're gonna fix that in just a minute. But I want to do is make sure that each one of these vocal phrases which are really clearly within the way form, are happening right on the grid. Let's go to the first grid market. I'm gonna zoom in using the age. I'm gonna use the three key on my keyboard to switch to the slice tool. I'm in a slice right on the beat. Then I'm going to come over here. I'm gonna do the same thing there and then the same thing here. So that right now what winds up happening is that I have four elements or four events out of this original recording. What we're gonna do is we're gonna position these right on the grid and then do cross fades so that it sounds nice and smooth. I'm gonna turn snapping off. I mean, simply drag right there, and I'm going to select these two events. I'm gonna use the cross fade or X key. It automatically performs a great cross fade. Let's listen to that. Perfect. I'm gonna come in over here and I'm going to zoom in. I'm actually just gonna fade this out. And I want to make sure that this phrase right here is coming right in on the downbeat, which it is. So that's fine. I can leave it as is come to the next one and that's just check this up close. It's pretty good. I'll just move that over a little bit, do a cross fade with the X key. The next step is to glue all of these together into one event, and I'm gonna use the glue tool to glue all of those together. Now, when I select this clip, we noticed that the length is no longer eight bars. It's 7.3 point 3.116 That's just because our edits have made very minor changes to the beginning and end, probably mostly to the very end. So what we can do is we can just check that are beginning, is right flush with the grid, which it is, and then we can go to the end. And I'm just using g N h to zoom in and zoom out. I'm gonna go ahead and turn snapping on, and I'm going to change it to grid. And then I'm just gonna drag this right to snap right there. Now, when I have it selected, you'll notice that the link is once again eight bars. Finally, I'm going to zoom out. I'm gonna take this whole clip, and I'm gonna use audio bounce selection to just replace it with an actual audio clip. Now, my timing is perfect. I want to go through and check the pitch. 14. Basic Pitch-Correction with VariAudio: probably one of my favorite features of Q Bass Pro is the very audio pitch engine, which they started. I think back in Cuba five or six. It's fantastic feature and basically allows us to do melody line were auto tuned style pitch correction on just about any Monta Phonic elements. This is a quick summary of how it works, and basically, I'm gonna show you how I can use it to tune in this vocal. As you can hear when we play this clip, it's a little way Avery and the pitch is just a little unsteady. Want to tighten that up a lot? So I'm going to double click the clip to bring it up in the editor view, and over in the Inspector will see a number of options, one of which is very audio. We want to select that, and we're gonna go ahead and click Pitch and War that's going to do an analysis and is gonna present us with Q bases. Best guess of what pictures are present. What I want to do for right now is just select all of these pitch elements and I'm gonna go to quantifies pitch minute quantities them completely and straighten their pitch complete. You'll notice that the wiggly lines within each one of the pitch segments they become straighter as the straightened pitch variable is changed. Now, if we have in both super locked in like this, you're gonna find that it sounds a bit automatic or mechanical. Oh, who? But that's essentially what I want for this ambient vocal harmony background. Please keep in mind that if you're using very audio with a lead vocal, you're not gonna want to be very heavy handed. Adul with the quantities picture straightened pitch features, you might use them here or there to make minor tweaks or corrections or even last minute changes to a lead vocal. But lead vocals really need to stand on their own, so you need to rely on having a great vocalist for a good lead. Vocal harmonized vocals like the ones I'm creating here are really designed to be more like a pad, and they could be heavily flawed because we're gonna be blending them with a lot of reverb and delay. Great. So we have corrected the time and the pitch for this particular clip. We've also gone over how to set up an external interface and do a recording using a mike. In the next lesson, I'm gonna show you how to take this one clip and multiply it and make a three part harmony based on the chords in our music. 15. Automation: Recording Manual Tweaks: there are two kinds of automation you can do. You can actually set up automation to record what you're doing will do that with a couple of favors, but you can also just draw in automation. We're also going to do that. I want this big FM pad to fluctuate from left to right as it's played. First, we're gonna blend it into the mix, and then I'm gonna actually record some automation here with my panel. Let's set the level first theme. Now I'm going to hit right or right automation that enables read automation automatically. And now I'm gonna play it, and I'm gonna fluctuate this balance parameter or panic parameter. And it's gonna record my motion, Theo. I'm just creating a little bit of interest there. Now, if we turn right off and we go back, we'll notice that it now has curved wrong in here on this lane. That represents the automation for this particular attributes. Let's go ahead and listen to how that automation sounds. Theo, Wait. That's a simple example of how you can write automation by having the cube a software kind of record. Your movement 16. Automation: Drawing in Lanes: But we can also draw in automation to demonstrate that I'm gonna change to the draw tool and my coming here to this same lane, and I'm gonna draw the line like that. Now, what's gonna happen here is that my panic is going man parameter. If I wanted to change another parameter like volume, we could do that pretty easily. I think an interesting idea would be to add some automation of the cab Ossa so that it actually goes up in volume during this breakdown. So it starts very quietly and comes up in volume. We're going to select the track, and we're gonna come down here. If you mouse over the bottom of each of these tracks, you get this kind of dropped down arrow and the tool tips has show hide automation so we could go ahead expand that we don't have any automation written for this track quite yet. So this is kind of just showing and hiding an empty track. But volume is our default parameter. We could select any of these parameters, including parameters for our inserts or sends If we wanted to change how much reverb was applied to something over time or we wanted to decide when a delay was turned on and off. We can have all of those parameters here. We just choose the one we want. In this case, we want to choose volume, which is selected, and I'm gonna zoom in here just a little bit. We can see the line here. I'm gonna make the lane a little fatter. I'm actually going to use the line tool up here, and I'm going to set my cursor right on the level because I know that that line there that hard on line represents the fader level that we chose earlier. And I'm going to just change this like so there we go. Now we've got automation that's going to fade this in very slowly. Let's hear how it sounds. Wait. So that's an example of drawing automation wasn't recording my movements, but I drew something in. And that's great for this kind of ramp where we want to get something super, super accurate. In the next lesson, I'm gonna talk about doing final edits and then applying reverb and delay as special effect put our sounds into a physical space 17. Automation: Automating Plugins: in this lesson, I'm gonna do a couple of final edits, and then I'm also going to show you how to use effects like reverb and delay to just create a little more ambient space. And in the same way that we used panning to make sure that our instruments were located in the stereo field from left to right, we're gonna use reverb and delay to place things in three dimensional space in terms of how close is that object to you? The first edit I want to do is right at the beginning of the track, and it has to deal with the fact that everything starts a bit jumbled. So what I'm gonna do is I'm actually zoom in, and I'm gonna just kind of basically clip off the beginning of this lead sent that's gonna make it sound like this. That's what I want to also look at the end. That's all very sudden. So I'm gonna go ahead and I'm gonna conclude everything up to this grid mark here measured 57. Except this last bit. I'm gonna leave that there. What I'm gonna do is use an echo or delay on the Master Channel and automated to turn on right at this last beat. And it's gonna kind of allow that sounded just echo out into space. To do that, I'm gonna extend my input output channels. This is my stereo out, which is the same as my master channel. I can go ahead to the inspector and I had put a limiter on their before, and that's fine. But now what I want to do is I'm gonna shift that limiter down. I'm gonna put on a delay, and I'm just gonna use this ping pong delay. Now, if I leave this ping pong delay on the whole time, it's going to do echo and delay throughout the whole track. I don't really want that. I just wanted to turn on at the very last minute, So I'm gonna add automation here by selecting insert one ping pong delayed bypass. Now I can write in automation so that my delay turns on right here. I'm gonna expand this automation track using the Z key. I select the track and I'm going to expand it like so. And I want this to take place just before that drums completely end. I'm gonna go ahead and click once. I'm gonna use a preset I like called Pro Zone, and it's gonna sound like this. It just creates kind of an echo shatter sound as the tune ends. All right, I'm gonna close everything up. And that concludes this lesson and the next less. I'm gonna talk a little bit about this sort of general philosophy of mixing, and then we'll finish out this section. 18. Editting Using Custom Hotkeys: one of the best ways to make the most at a Q base is using hot key commands. If you're not familiar with hot keys, they are simply using combinations of keyboard keys to perform specific tasks. There were a few that I used in this course, and they're definitely my favorites, and I want to go over those and make sure you know how to do it. So zooming in is the letter H. He's a pretty standard across most versions of Q Base H. Zoom in and G is zoom out. I pretty much have my hand on G N H the whole time because zooming in and zooming out is such a big help when I'm editing a project. Another thing I do a lot is cross fade. So let's say I've got to audio clips that are overlapping like that. You just select them and you hit X, and it does a really flawless cross fade, and you can hear for yourself how flawless this cross fade is if we just listen to it. Oh, so it's a perfect, perfect faith, and so you can rely on Q base to execute a great cross raid. You just select the overlapping clips and you hit the key X of course, Control Z or Command Z on the Mac. UN does whatever you just did, so that's a great way to undo mistakes. Looping is another great thing. Let's say I just want a loop. This section here I just select a clip that represents the region, that I want a loop and I hold down option on the Mac or bolt on a PC and its peace. Oh, option P or LP. It sends partners and then starts the loop right away. That's a great way to make sure that you've selected the portion of music that you want to be working on, whether you're changing plug in parameters or something else. Switching tools with numbers is also great. So right now I've got the pointer tool. But I can select the slice tool just by using the number three. And if you look along the top here, we've got all of these different tools and more or less your number pads correspond to them . So if you want blue, you just hit for and you get the glue tool, the final hot key that I find myself using all the time is F three. So we've used that a number of times. It brings up the mixer console, and it's nice to just use that as a toggle on and off. 19. CPU Optimization: CPU optimization is a critical thing to be able to do really in any platform with your using Q base or another d aaw. But the reason this comes up is because, depending on different computers, Q Base will have different capacities, right? So if you have less ram or you have a slower process, ER, then you'll find that you can run fewer plug ins or you'll find that advanced plug ins like reverb, for example, maybe stutter or don't sound that great when you run into CPU problems. There are a few things to look at immediately the first, which we've already discussed, his buffer size. So we go to the studio menu Select studio set up, and we go to our built in audio under BSD audio system. We click Control panel. We talked about this earlier. In the course, you can select a different value for buffer size Now. The lower the number, the more difficult it will be for your computer to keep pace with work. So now, if I have this low buffer size of 32 then when I play, you'll hear it stutters. Oh, that's because my computer is not able to do the processing Quicken. So if you have that kind of audio drop out problem, that's the first sign that your buffer sizes set incorrectly. And the only way to really get into a really, really low buffer sizes to have a very, very powerful computer with a lot of ram and a lot of processing power. Another thing you want to do often, which we've done in this course, is to use effects channels or send effects. So reverb tends to be a very CPU intensive kind of plug in, and most plug ins actually can be very CPU intensive or something like reverb. We don't really need to have a river plugging on each one of these channels, and if we do, it essentially multiplies the burden on our CPU. So if I had taken this room works, for example and I had installed it on every single one of my channels separately, I would have gotten a very similar outcome. But it would use way, way, way more CPU power. So a very simple thing to do is to figure out which effects you can use a send, which reverb is one of the number one candidates and use them as a send or in effects channel, which is really the Q base term for an FX sent. Finally, the last thing that I want to bring your attention to in terms of optimizing your CPU is freezing VSD instruments. We is this Hallion VSD instrument here, and if you look on the right hand panel, you'll see it listed. And there's an icon here that if you mouse over it, says freeze instrument. Now if we click that, it's going to give us some options. Weaken, usually free is the instrument and channels I typically do not select unload instrument when frozen. I don't like to do that because then I might have to reset parameters on the instrument of change later, when I hit OK, what is going to do is basically creating a cached copy of what that instruments doing. So, of course, I can still listen to that track as though it were edit herbal, right? So let me listen to that right here. I can still hear the instrument, but if I want to go and make changes to it, I just unfreeze it. So when it's frozen, it's cached and instrument isn't doing any real time thinking that saves a lot of CPU power . But the nice thing about freezing is I can unfreeze it at any point in time, and then I can go back and tweak parameters on the instrument. So if I wanted to just change the tail or the attack or something like that, I could go ahead and do that later on without any problems at all.